Her boisterousness and hostility is epitomised in the stage direction [She strikes him]. This indicates that Katherina employs physical abuse as a self defense mechanism against Petruchio. Such violent behavior was classed as shrew-like and highly unorthodox in the Elizabethan Era, particularly towards a male suitor of a high social class. Thus, Katherina challenges the values of courtship and marriage, in a way that is relevant to her society. Correspondingly, in 10 Things I Hate About You, Kat rebels against the social expectations of the permeating values of courtship and dating.
Ibsen’s eye for resemblance and use of symbolism highlights issues that he wanted to convey about the social environment at the time, including the harsh patriarchal society, seen mostly in Torvald in the play and the role of women, represented mostly in Nora. These symbols act as foreshadowing before the tragic events at the end of the play, as they show the problems which lead to the demise of the Helmer’s ‘perfect’ family life. The name of the play itself ‘A Doll’s House’ is symbolic of the domestic dynamic in the Helmer’s household, as it reflects Nora’s position as the ‘doll’ in Torvald’s doll house. It is clear from this that Nora is seen by Torvald as an accessory or pet, who is simply for aesthetic purposes—"The squanderbird’s a pretty little creature but she geets through an awful lot of money. It’s incredible what an expensive pet she is for a man to keep".
By having sex to rebel against the mind-controlling Youth Movement’s talks about pro-creational sex, Julia goes against the Party because “sexual privation induces hysteria…and could be transformed into war-fever” (822). Sex poses danger to the Party, and because the Party outlaws it, Julia becomes an outsider. Unlike Winston and Julia, Parsons transforms from an outsider who hated Big Brother to an insider after staying in “the place where there is no darkness” (757). The place Parson transforms in refers to the room in the Ministry of Love in which torture alters people’s beliefs. Parson originally holds the belief that evil exists inside the Party, but he changes his beliefs to a pro-Party stance, even going as far as to thanking the Party for saving him.
The women are casualties of a domestic prison, a prison for the mind, created by society and their husbands, who are victims themselves in their own way, of a Gilded Age mindset. The women have no voice and no authority. Their intellect and creativity is considered a frivolous obstacle and a distraction from their jobs as homemakers. There is irony in the endings of these stories in that the victims, the women, adjust to their lot and turn the tables on their oppressors. In Trifles, the women come to a realization that they must bond together against their clueless husbands to see justice done.
As a result of her husbands control, the woman develops and obsessive attachment to the wallpaper which masks the walls of her bedroom. Gilman composed the short story to make determined statements about feminism and individuality to oppose the male authority that ruled over her during her lifetime. Gilman does this by describing the narrators decent into madness, which is caused by many factors, all being linked to her husband. It’s immediately apparent in “The Yellow Wallpaper” that the woman allows herself to be inferior to men, in particular her husband, John. This ultimately leaves the reader with many questions about 19th century male-female relationships and perhaps insanity.
In comparison, throughout ‘A Doll’s House’ we pick up hints that Nora is a secretive woman and later come to realise that like Mrs Arbuthnot she has being hiding a large and important secret from her loved ones, and that is that she has taking a secret loan out in her husband Helmer’s name which presents woman to be extremely devious. The fact that woman had to hide their secrets demonstrates they would have been looked upon as more shameful than a man because of their lower status. In ‘A Woman of No Importance’ Wilde presents woman in contemporary society to be of a much lower class than men by constantly mentioning how woman are a lot less under achieving than most males and that it is the way that men like society to be. “But good women have such limited views on life.” By Lord Illingworth saying this to Gerald whilst
In Act II where there is a party in Leonatos house Beatrice talks to a masked man and tell awful things about Benedick to him. “He is the prince’s jester: a very dull fool…” This is telling u that Beatrice knows that the masked men is Benedick but she wants to make him feel bad. After that Benedick explodes and go talk with Don Pedro. “But that my Lady Beatrice should know me, and not know me! The prince’s fool!
Ender’s excellence brings a lot of torture for him when Stilson wants to overrule him, Bernard frustrates him and Graff uses his sister to break Ender down emotionally. To begin with, Stilson wants to hurt Ender because he thinks he was excellent if his monitor and which is taken off. “Oh, gonna fight me huh? Gonna fight me, Thirde?” (Card 7). In this quote, Stilson shows anger toward Ender who deliberately creates a situation to hurt Ender.
Polonius effectively demonstrates notions of corruption throughout the play. As Polonius himself is corrupt and false he cannot think of others as genuine. In Act 1, Scene 3, Polonius interferes with his daughter’s relationship with Hamlet - doubt’s Hamlet’s integrity, sincerity and affection for Ophelia, “Do not believe his vows” Polonius elucidates his corruption and falsity at the very beginning of Act 2, when he gives Reynaldo money to spy on his own son Laertes’ behaviour in Paris, through devious and indirect methods such as lies, “Inquire... and there put on him what forgeries you please”. Shakespeare’s examination of corruption through the interaction and relationships apparent between Hamlet and Gertrude,
A constantly changing light on the wallpaper show many different mutating forms--symbols of the many ways male chauvinism has spread throughout the society. Each one can be read as a different facet of a male-centric society and its effect on women. (Ames 1) The bulbous eyes and strangled heads may symbolize other women's careers that have been choked, in that case the authors tearing down of the wallpaper and creeping over her husband symbolizes her triumph. The images are so numerous that it is not possible to know precisely what Gilman meant for each one--perhaps she was unsure herself--but a reader can personalize them all and gain a sense of them from the context Gilman places around the